The Shrouds
5.775%52%5.8
Ontroostbaar sinds de dood van zijn vrouw, vindt Karsh, een vooraanstaand zakenman, een revolutionaire en controversiële technologie uit die de levenden in staat stelt hun dierbare overledenen in hun lijkwaden te volgen. Op een nacht worden meerdere graven, waaronder die van de vrouw van Karsh, ontheiligd en gaat hij op zoek naar de daders.
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- jackmeat28 juni 2025My quick rating - 5.9/10. David Cronenberg’s The Shrouds is one of those films where simply knowing who’s behind the camera sets your expectations, and probably filters who should even watch it. If Cronenberg’s brand of clinical body horror, icy emotional undercurrents, and existential musings isn’t your thing, there’s little chance this one will win you over. But if you’re drawn to his work, this is a fascinating, if uneven, late-career piece that seems to wrestle with mortality as much as the director himself does. The film follows Karsh (Vincent Cassel), a wealthy businessman inconsolable after the death of his wife. In his grief, he’s developed a controversial technology that allows the living to watch their deceased loved ones decomposing in their graves, an unsettling concept that Cronenberg treats with a kind of intellectual curiosity more than outright horror. When Karsh’s wife’s grave, along with many others, is desecrated one night, he becomes obsessed with finding out who is behind it. It’s not hard to see how personal this project is for Cronenberg, who reportedly drew on the loss of his own wife. That somber, introspective energy permeates the film. Unfortunately, so does a bit of clutter. The Shrouds feels loaded with stray thematic threads: critiques of privacy-invading tech, A.I. dependence, capitalism, modern surveillance states, plus jabs at the Chinese, the Russians, and the lifestyles of the rich. There’s a subplot involving Karsh’s personal AI assistant that’s undercooked—just one of several ideas that might’ve been more compelling with deeper exploration. Still, even with its meandering approach, there’s something engrossing about the movie’s cool, calculated tone. Cronenberg paints a world of self-driving cars and phone screens that feels depressingly plausible, yet almost drained of life. Underneath it all is the point, of course: our technology, our shiny devices, still serve our very human, often shameful desires. Whether that’s to feel close to the dead, to voyeuristically intrude on private spaces, or simply to dull our grief. The acting keeps this from tipping over into pure tedium. Vincent Cassel gives Karsh a hollow-eyed vulnerability that makes his obsession with his wife’s grave both sad and disturbingly believable. Diane Kruger is equally up to the task. The supporting cast similarly grounds what could’ve become a detached philosophical essay. This is ultimately one of those movies that might miss as pure entertainment, but a Cronenberg “miss” still lands higher than most directors’ average. The slow burn won’t work for everyone—there were certainly stretches that flirted with boredom—but the emotions at the core are authentic, the sci-fi concepts hauntingly real, and the personal undercurrents hard to shake. If this does turn out to be Cronenberg’s final film, it’s a fittingly morbid yet thoughtful meditation on death, technology, and the strange ways we try (and fail) to keep loss at bay.
- 0 111 december 2025I’m a fan of David Cronenberg and several of the actors, but the script is neither cohesive nor coherent. There are too many holes in the story, and the ending is especially incoherent. That said, I was genuinely impressed by Diane Kruger’s acting; she played three different roles (Becca, the deceased wife; her sister Terry; and the AI assistant Hunny), and i couldn't tell it was the same actress until I looked online. You later learn Maury, the ex-husband of Terry was Jealous of her interest in Karsh so he hired Hackers and others to vandalize the cemetery but the script isn't very clear about it so it makes the plot a bit convoluted. I didn't understand the ending. The conspiracy theory first given in the story that Chinese hackers were the cause made absolutely no sense. What do sovereign employed hackers accomplish by hacking a cemetery company with limited cash-flow and investment 😂😂😂
- assassin00718 juni 2025What a strange film. I'm assuming this is the type of film the movie critics like to delve into and make great reviews or use large words to make this type of film into what they want it to be. I was left confused at the end of this film that's for certain, the quality of the production was there I just didn't grasp what was going on.
- cultfilmliker21 januari 2026Oh so the guy is just a morbid sex addict - that’s simple enough Wild and messy but I did enjoy the ending! You think Cronenberg gave Vincent Cassel The Room as homework for his character orrr? The way he acts, speaks (including some dialogue lmao), and the unreasonably beautiful women he’s having sex with are all too reminiscent! Watching a whole scene on someone’s phone while they’re holding it was hilarious to me Currently Ranked #104/200 in 2025 Ranked
- Corey B.20 januari 2026David. We need to talk. I love you man, I've seen every one of your movies. It pains me to rate this so low, but please don't do this anymore. Don't do what Terry Gilliam did. Know when to stop. Just hang your hat, call it a legendary genre defining career... and please don't make any more of whatever mess this was.
- Cineit.blog14 oktober 2025David Cronenberg is back with a film that is stylish, cold, and ultimately hollow. The premise is fascinating, a technology that lets you watch your dead loved ones decompose in real-time, but the story gets bogged down in a convoluted and boring plot involving corporate espionage that goes nowhere. Vincent Cassel is just okay, and while the movie looks sleek and beautiful, it's an expensive, emotionless experience. It promises a deep, unsettling mystery but fails to deliver anything more than a stylish but empty shell. A major disappointment.
- ricomckee21 juni 2025Dull and boring. This is a high concept film with major ideas and a statement. However, it needs to be watchable and not have the audience be bored to tears in order to receive any message. The film also doesn’t seem to find the footing it is looking for during its course. There is a lot of gratuitous nudity and sex but I could never figure out to what end. Especially a movie dealing with obsession of death. These scenes just seemed out of place and thrown in as “art” when it did nothing to enhance…well anything. The worst sin however is it is boring and dull. I had to rewatch parts several times and found Facebook ads more engaging. Be edgy, have nudity, have a statement… but don’t be boring.
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The Shrouds was released on 3 april 2025.
The Shrouds was directed by David Cronenberg.
The Shrouds has a runtime of 2 u.
The Shrouds was produced by Saïd Ben Saïd, Martin Katz, Michel Merkt, Anthony Vaccarello.
Ontroostbaar sinds de dood van zijn vrouw, vindt Karsh, een vooraanstaand zakenman, een revolutionaire en controversiële technologie uit die de levenden in staat stelt hun dierbare overledenen in hun lijkwaden te volgen. Op een nacht worden meerdere graven, waaronder die van de vrouw van Karsh, ontheiligd en gaat hij op zoek naar de daders.
The key characters in The Shrouds are Karsh Relikh (Georgette Crochon), Becca Relikh / Terry Gelernt / Hunny (Diane Kruger), Maury Entrekin (Guy Pearce).
The Shrouds is rated R.
The Shrouds is a Thriller, Sciencefiction, Drama film.
The Shrouds has an audience rating of 5.2 out of 10.
The Shrouds had a budget of US$ 15 mln..
The Shrouds has made US$ 1,5 mln. at the box office.